www.theguardian.com·há 7 dias

Carlos Acosta: Myths and Modern Masters review – superstar returns with style, the Stones and his daughter

Royal Opera House, LondonMixing contemporary, Cuban and classical works, Acosta has charisma to burn and is accompanied by an impressive cohortIt’s a bit of a stretch to call this undoubtedly enjoyabl

theguardian.com·há 2 meses

AI won’t decimate the arts. We must interrogate it, but we can collaborate with it

Opera makers have always engaged with the latest inventions while also preserving historic crafts. I believe it’s possible to look both forwards and backwards in this fast-evolving landscapeThe disqui

theguardian.com·há 3 meses

Royal Opera House calls for release of Georgian bass singer jailed over democracy protests

Casting director urges Keir Starmer to intervene in case of Paata Burchuladze, 71, jailed for seven years after singing at anti-regime demonstrationsThe Royal Opera House in London has urged Keir Star

www.theguardian.com·há 5 meses

Siegfried review – invigorating and mesmerising staging, with Schager outstanding as Wagner’s hero

Royal Opera House, LondonThe third opera of Barrie Kosky’s Ring cycle again places the naked ancient earth goddess centre stage in a thoughtful and deft production that boasts an excellent cast and or

theguardian.com·há 5 meses

‘Siegfried wants to have fun, kill the dragon, meet the girl’: Andreas Schager on Wagner’s young bully

The Austrian tenor is making his Royal Opera debut as Siegfried in the third instalment of of the Ring Cycle. He explains why operetta prepared him for the opera’s epic demands, and why Wagner’s louti

www.theguardian.com·há 5 meses

Ballet Black at 25 review – dazzling double bill brings forth resistance and hope

Linbury theatre, LondonFor its quarter of a century celebrations, the company combines an eloquent new dance that speaks of idealism with a revival of its punchy social dramaIt’s 25 years since the in

www.theguardian.com·há 6 meses

Pierrot Lunaire review – Royal Ballet reaches for the moon with a creepy dance of desire

Linbury theatre, LondonGlen Tetley’s landmark 1962 ballet, set to Schoenberg’s atonal score, is stark, strange and psychologically chargedSometimes the revival of an old work can make it, and us, feel

www.theguardian.com·há 7 meses

A night without Nessun Dorma: what does booing at the opera say about UK audiences?

Critics worry that heckling, such as that at a recent Royal Opera performance, is becoming more commonOpera audiences pride themselves on knowing when – and how – to make noise. Cries of “bravo”, “bra